1 Some of this material was already published by Borsook, Eve, The Mural Painters of Tuscany (London, 1960), pp. 154-156.Google Scholar Borsook (p. 155) attributes the difference in tone between the walls at Arezzo to ‘greater moisture’ in the right wall than in the left one. The poor condition of the frescoes was noted earlier by Clark (p. 205). For their iconography, see Clark, pp. 21ff. The color differences between the walls is discussed by Clark, pp. 28ff. See especially p. 35, where the difference between east and west walls is pointed out, but attributed to the use of assistants on the east wall. Gilbert believes (p. 18ff.) that the differences result from a change in style. Both Clark (p. 33) and Borsook (p. 154) propose that Piero's battles depend on Ucello's battle scenes painted for the Medici ca. 1456-ca. 1459.

2 On the dual identities of Fortuna, see Patch, H. R., The Goddess Fortuna in Medieval Literature (Cambridge, 1927).Google Scholar Sometimes, Patch notes (p. 110), Fortuna does the work of Fame. Fortuna working as Death is discussed pp. 117ff. In a forthcoming study, I hope to amplify the suggestions offered here concerning the Urbino Diptych.